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Books > Language & Literature > Literature: history & criticism > Literary studies > From 1900
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Grotesque Anatomies - Menippean Satire since the Renaissance (Hardcover, Unabridged edition)
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Grotesque Anatomies - Menippean Satire since the Renaissance (Hardcover, Unabridged edition)
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Grotesque Anatomies is a study of Menippean satire in English since
the Renaissance. It consists of revisionist, close readings of
canonical works such as Eliot's The Waste Land and Pope's Dunciad
among others, and investigates how identifying them as Menippean
satires changes our understanding of them. The initial chapter
offers a comprehensive account of the form from antiquity to the
present day, identifying its bifurcated development in the shorter
form (Seneca-Lucian-Julian) and the longer, more encylopedic form
(Varro-Petronius-Boethius), and their subsequent fusion during the
Renaissance. It also contains an account of the critical reception
of the genre, with the term `Menippean satire' first being used by
Justus Lipsius in 1581. Finally, Menippean satire is described as a
literary version of the grotesque, and a brief theory of the
grotesque in the modern period as `radical heterogeneity' is
outlined. This is also the foundation of a new definition of
Menippean satire, drawing on previous definitions by Frye, Bakhtin
and Kirk, and revising them for the modern period.The following
chapters examine iconic works as examples of Menippean satire and
of the grotesque. Chapter 2 offers an overview of the nose in
Menippean satire and comic literature generally, and reads
Rushdie's Midnight's Children in this context. It also gives an
account of metaphor as a `grotesque transformation'. Chapter 3
examines the figure of the stomach in Menippean satire and
symposiastic literature, and reads Peacock's Gryll Grange in this
context. The link between the stomach as a figure of thinking in
comic literature is the basis for an account of symbolic
structuring as `grotesque association'. Chapter 4 is a close
reading of the scatological imagery of Pope's Dunciad, and how
scatology generally tends towards a cyclical metaphysics. It also
relates changes in print technology and copyright laws to the
reticular scatological structure of the Dunciad. Chapter 5 argues
for Eliot's The Waste Land as a Menippean satire, focusing on the
rhetorical figure of the enthymeme as a missing premise, as an
example of `under-mindedness' and as an ironic aspect of the
fragmentation typical of late Romantic Menippean satires. Chapter 6
examines Urquhart's eccentric The Jewel as a satire on the
referential function of language, reading it in the context of
projections for a universal language from this period. The final
chapter identifies some key works by Derrida and Barthes as
Menippean satires, noting the resurgence of the form in some
postmodern and deconstructive writing.
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